听陕西故事No.42 | 书中的陕西：《秦腔》，贾平凹为故乡竖的一座碑
贾平凹的写作，既传统又现代，既写实又高远，语言朴拙、憨厚，内心却波澜万丈。他的《秦腔》，以精微的叙事，绵密的细节，成功地仿写了一种日常生活的本真状态，并对变化中的乡土中国所面临的矛盾、迷茫，做了充满赤子情怀的记述和解读。他笔下的喧嚣，藏着哀伤，热闹的背后，是一片寂寥，或许，坚固的东西都烟消云散之后，我们所面对的只能是巨大的沉默。《秦腔》这声喟叹，是当代小说写作的一记重音，也是这个大时代的生动写照。
——茅盾文学奖《秦腔》授奖词
Jia Pingwa's writing style is both traditional and modern, realistic and lofty, with simple yet uplifting language. His Qinqiang depicts a real life in rural area with a subtle narrative, interpreting the contradiction of the changing rural China. Under his pen the hustle and bustle takes on some kind of sadness. Perhaps, after all the solid things have gone away, the only thing left is a dead silence. Qinqiang plays a vital role in current novels as a vivid reflection of this great era.
(From the award speech for Qinqiang in the 7th Mao Dun Literature Award)
《秦腔》是贾平凹的第12部长篇小说，初版于2005年4月，荣获第七届茅盾文学奖。目前已有英文版、瑞典语版、俄语版、越南语版。
First published in April 2005, Qinqiang, Jia Pingwa's 12th full-length novel, won the 7th Mao Dun Literature Award, the highest literary award in China. The book has now been translated into different languages, including English, Swedish, Russian and Vietnamese.
丰碑 A monument
出生于棣花村的贾平凹19岁就离开了家乡到西安工作生活。多年以后他回到家乡，他看到了家乡巨大的变化，村子里的年轻人越来越少，他熟悉的那个热闹的农村在一步步消失。望着街上凋敝空旷的街道，复杂的心情涌上心头，那时他就萌生了一个念头，“我要用自己的笔为故乡竖座碑”。
Jia Pingwa, born in Dihua village, left his hometown to seek employment in urban areas at the ag of 19. Years later when he returned to his hometown, he was encountered with great transformation in his hometown——the bustling village that he is familiar with has long gone and there were few young people. Seeing bleak scenes on empty streets, he was overwhelmed by a complicated feeling . It is at that time when he decided to write a book for his own hometown.
始于秦时陕地的秦腔是陕西魂，陕西之音。正所谓一方水土养一方人，对于从小就听着秦腔长大的贾平凹来说，听到秦腔就仿佛回到了那个他最熟悉的地方。贾平凹曾在同名散文秦腔中写道，山川不同，便风俗区别，风俗区别，便戏剧存异；普天之下人不同貌，剧不同腔。
Qinqiang opera, a genre of folk Chinese opera originated in Shaanxi Province of Qing China in 1807, is the voice of Shaanxi. And thus it is also known as Shaanxi opera. Just as a saying goes, "Each place nurtures its residents in its own way". For Jia Pingwa, who grew up with the accompany of qinqiang, the tunes can bring him back to his hometown, the most familiar land in his life. He harbored such a deep feeling for qinqiang opera that he also wrote a piece of prose named Qinqiang Opera, in which he states, “scenes and customs differ in different regions, which could form a variety of dramas with different tunes.”
贾平凹回忆说自己小时候听花旦青旦唱悲戚戚的调子都会泪流满面，从秦腔的故事中他了解到了什么是奸臣，什么是忠良，什么是英武，什么是痴情。可以说，秦腔是他道德启蒙的第一课。他曾多次在作品中引用秦腔，试图通过秦腔来表现人物的感情，使之推动情节发展。
Jia Pingwa recalls that, in the childhood, his eyes were blurred by scalding tears when listening to sad tunes of huadan. Qinqiang opera was playing a vital role in moral enlightenment in his life, imparting him what is treacherousness, faithfulness, braveness and true love. He likes to quote a few lines from the qinqiang opera in his works, aiming to express the characters' feelings and advance the plot through it.
Huadan: one of main types of female role in opera.
《秦腔》这本小说就是贾平凹先生以他生长的故乡为原型，以秦腔这一剧种加之农民与土地的关系为两条主线，描写了陕南村镇清风街真实的乡土生活。作者把对秦腔的感情寄予女主人公白雪，以男主人公"疯子"引生的眼光，刻画了清风街上158个个性鲜明的人物，他们的生老病死、悲欢离合。
The novel Qinqiang is based on the two main treads, one is qinqiang opera and the other one is the relationship between peasants and the land, depicting the real rural life of people living on Qingfeng Street. The author pins his feelings for the opera on Bai Xue, the leading female character of this book, depicting 158 distinctive characters and their lives on Qingfeng Street in the eye of “crazy” Yinsheng.
白雪是作为秦腔文化的精髓和秦腔文化的守护者而出现的，长得好看又善良，唱得一嗓好秦腔。白雪的美丽喻示着秦腔的风神，如阳春白雪一般，疯子引生对白雪的痴迷，一定意义上是对世纪末逐渐走向消失的农耕文化的怀念。白雪与夏风的婚姻则代表了传统文化与现代文明之间的巨大分歧。白雪的悲剧命运，隐喻着秦腔必然走向衰亡的历史命运。作者在叙述中，字里行间充满了对“行将失去”的无奈和叹惋。
Beautiful and kind, Bai Xue (Spring Snow), a good opera singer, represents the essence and guardian of the qinqiang opera culture. Her good looking is a metaphor for the qinqiang opera that is as beautiful asd spring snow, and the Yinsheng's obsession with Bai Xue is, in a sense, a nostalgia for the farming culture that was disappearing at the end of the 20th century. In addition, the marriage between Bai Xue and Xia Feng epitomes the great difference between traditional culture and modern civilization. Bai Xue's life ends tragically, which implies inevitable demise of the qinqiang opera. Reading between lines, you'll find that this novel is filled with the helplessness and sorrow for the "loss".
Qinqiang
“后辈人都不爱了土地，都离开了清风街，而他们又不是国家干部，农不农，工不工，乡不乡，城不城，一生就没根没底的像池塘里的浮萍吗？”
The new generations do not cherish the land and leave the Qingfeng Street one after another. They are not state cadres. They are now non-rural non-urban. They are adrift for the lifetime, like a duckweed in a pond with no roots.
“太阳有升有落，人有生的，当然也有死的，剩下来的也就是油盐酱醋茶，吃喝拉撒睡，日子像水一样不紧不慢的流着。”
——《秦腔》
People’s life rises and falls like the sun, some are born, some are dying. Other than life-death matters, you take everything in your stride when time going by like water flowing unhurriedly.
----Qinqiang
文字&编辑&翻译 Text, editing & translation: Erica Guo
图片来自网络 Pics from the Internet